I can’t really tell what elements Copeland uses to paint his white-noise pictures. Often the source material sounds watery—tides, rainstorms, etc.—but evolves into collages of industrial noise and the altered soundscapes of public spaces. Sometimes he layers storm upon storm, or warps and loops sounds that sound almost familiar but fail, despite persistent concentration, to resolve themselves into a distinct and recognizable pattern. These electroacoustic compositions make perfect listening while reading or relaxing—they’re passive enough to sooth, but full of details ready to ensnare a mind ripe for sonic distraction.